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[Music] hey David Bruce here in the episode Accord play this is the courts a motley crew and of course we're gonna be talking about myth Mars and Mick Mars is definitely a underrated and kind of often forgotten you know guitar legend and I've always liked this guitar style even when I was a young kid and my sister was really into Molly crew and I could hear those riffs and those solos and I thought alright I think I like Motley Crue too and then I started listening to him and he's really just a good kind of balls-to-the-wall solid you know hard rock and metal guitarist and I'm sure I'm gonna have some viewers that are gonna argue with me they're gonna be like hey wait you know Motley Crue's not metal they have pentagrams they had leather they had the image you know that I'd be happy to have fire and blood all this different stuff you know Mick Mars played warlocks and Les Paul's you know so the image was very much metal even if you know some other later music may have been a little popular and they kind of you know softened a little bit as they became more popular but there's no question too fast for love shout the devil and Theatre of pain those three albums are hard-hitting they're aggressive they're dark especially shout out the devil you know I mean shout of the devils basically that is a metal album in my opinion even though it's not you know it's not Slayer or something but it's dark it's heavy you know it's a few kind of segue tracks like the the introduction me like in the beginning you know when I was a kid and I heard that song it scared the crap out of me you know it's all detuned in the beginning God and devil and all this stuff and I thought oh my gosh you know I'm gonna go to hell just from listening to this and I remember I turned it down in my bedroom so my dad couldn't hear it so this chord play episode is definitely going to be a tribute to make Mars who I feel is an underappreciated and kind of often forgotten guitar legend I mean he's a great guitarist solid like a rock a lot of ways McMorris is kind of the secret weapon only through you know no offense to you know Tommy and then some Nicky but Mick Mars was the one that was put in the gasoline in their heart Rock machine their engine or whatever because his riffs and his solos you know were crushing but most of the things he played you know in the history of the band most of his riffs and rhythm parts were you know based around really simple things you know power chords and you know dyads and double stops and stuff so he wasn't doing you know anything crazy you know like like bucket head or Yngwie or something but he had this aggression you know this kind of energy and a fire you know when he would pick up his guitar and I noticed that right away where I thought man it's just hard hitting there's a lot of you know like I said power and energy you know when he plays and this lesson is really just gonna look at some famous you know monolith crew moments and we're really just in a stay within the first three albums you know too fast for love shouted the devil and theater of pain and there's nothing wrong with the other albums the self-titled mountain crew album is great it's kind of underappreciated dr. feelgood I think's actually Motley Crue's finest you know album as far as production and the sound and the songs you know dr. field gets great and girls girls girls is good too but I'm gonna stick with the classics the opening that was too young to fall in love which is from shot the devil and I think that's honestly my favorite Motley Crue song it's definitely my favorite McMorris a riff and I know the first time I ever heard that I ignored everything else and I just heard that guitar and I thought wow that's awesome and I love the fact that kind of moves and he's kind of you know reinstating this theme or a melodic you know device with those double stops and then by the time the power chords show up you know it's just it's just hitting you in the head which is really cool [Music] so right there we're basically playing you know happy opening string you can see right there we're basically playing like a piece of you know D over a and then it's a little piece of a minor right there and then a little piece of C over a and then he's kind of like flirting with G and then going back to the see there's a little melodic thing happening right there you can kind of hear that melody in the middle of those you know double stops and chords now when it moves cuz that was all based in the key of A and then you hear it go to G and Nicki actually moves to G on the face but that would be a big stretch I actually remember I worked on trying to keep that G root you know when I was younger and I wasn't sure how I was doing that but Nicki's laying in the baseline and then Mick basically just kind of goes back to what he was doing in the key of A even though technically the chord changed a G and it moves to F he does everything the same way again and if you're curious about that or if you want to argue with me um I I felt the same way I thought I don't think he's doing that open a you know I thought he was you know somehow grabbing the GED and somehow grabbing the air and I've looked at transcriptions of the song um but then the defining moment when I decided okay that's exactly how explain it I saw some live footage of Motley Crue and it was a concert I think it was from like 2004 or something or an event 2014 I can't remember what year it was from but it was relatively recent I mean it was in the 2000s but when they played the song the camera pans right to MIT and you see his hand and he played exactly that he just plays the single G and he goes right back to that a riff and then the single F and right back to that a riff and I was kind of surprised I thought okay all these years later I finally spotted him you know point [Music] the second part he's really just bouncing off the low E string and then he starts playing you know e power for the F to e and that's kind of flirting with Phrygian a little bit which is you know exotic especially for an 80s you know hard rock or metal band and then he basically does a little single note to get back into a and then you just repeat the first part again [Music] the second time through he doubles you know that power chord riff but I've always loved that song and that riff is just brutal you know it's so cool the next risks from the live wire and this is definitely you know really fast and brutal and I think too fast for love I mean it's just a step or two away from you just a full long Punk album you know I mean it was just aggressive and fast and you know definitely very different than the other Molly crew you know they kind of developed you know into a different band almost compared to that first album and with the opening riff here he's definitely doing kind of a jinx that field thing where he's you know picking the opening string and he's grabbing that you know kind of c-5 you know or that little piece of a double stop there on the fifth fret and he hits that but he keeps going back to that open hey and that's all downstrokes [Music] there you can see we're kind of doing this almost the same thing I mean we're kind of using some of the same chords at least the rhythm is different of course but he's really just grabbing that double stop there on the fifth fret and then answers that with the seventh fret that will stop so we're still kind of flirting with the part of the C and part of a deed you know power cord over a and then slowly second time through he does this little harmonic fill which I think Eddie Van Halen I think taught the world how to use form on XS fiddles because it kind of reminds me of Eddie but it's a little different and it's just this it's just the seventh fret on the G the seventh fret on the D twice as harmonics and then go back to the seventh fret on the G again once the fifth fret on the G twice as a harmonic cap and then the fifth fret on the B harmonic right there go right back to the riff again [Music] at the end like the last time through he does that really common kind of rock and roll you know fill our next steps looks the kill and definitely a big fan of this song too and I know when I first tried to learn how to play this I didn't know how Mick Mars tuned his guitar I had no idea I was just listening to it and on my bedroom with my guitar and my stereo or whatever and I thought how is he doing that and I ended up doing something crazy like that where I was you know grabbing a lower root note and then later I discovered ohmic Marston's down a hole stuff so you know back in though like early 80s back in there Sunset Strip days um nobody was tuning down like that you know I mean there were a few people but it was very few and far between you know to hear somebody tuned you know a whole step lower on electric guitar you know Tony Iommi you know kind of playing near bed but once you got away from the 70s and you started getting into the kind of the hard rock and glam and you know the rock-and-roll eighties um you know half step down was common standard tuning was common you could hear a little bit of drop to eat here and there but tuning down a whole step really wasn't normal you know and that really did give Motley Crue like this heavy kind of crunch in this you know edge that a lot of other bands at that time didn't have simply because they were tuned lower [Music] and it definitely reminds me of cold gin like a variation of kisses cold gym which cold gin would be [Music] but then during the chorus of the song it really gets interesting [Music] it starts on just a single you know II note there on the 2nd fret on the D and then he answers that with the open a string and then he starts doing this little you know kind of mutation of chords [Music] [Applause] [Music] right there you can see we're just grabbing that single knee like I said in the open hand right there looks like a little piece of a minor technically that E and C note and with the open a string signaling a minor [Music] right there you can think of that as implying augmented or raised fifth you know you could think of that as an F note but I'm thinking that is a sharp or out minute and then you're gonna hear that F or a sharp move up to an F sharp which that will be on a minor six then you're gonna hear that F sharp go up to a G and then that's a minor sub on that black knee really just does this double stop on the G and the B string [Music] [Applause] [Music] classic song and that riff is killer to you simple but it kills the next examples from save our souls which this is a very simple guitar riff but I wanted to include this in this lesson because it's October and this song also appears in one of my favorite horror movies it's not my all-time favorite but the Italian film demons from 80s demons actually has a cool soundtrack excepts on there Motley Crue I think there's like Rick Springfield and Saxon that thinks on there but the riff is really something [Music] and truth be told I miss rips like that I miss hearing you know like whole note power chords being held you know half no power cords and ringing cords and I also miss like eighth note rhythms um it seems like everybody today is so preoccupied with you know complexity and these crazy time signatures and you know all this stuff and it's like man I kind of just missed those heavy you know ac/dc riffs and stuff where it just you'd hear the chord kind of rang and it had this primal you know kind of energy I missed that kind of stuff or it's like you know Britten some of that back with that riff it's really simple just an a single note line and didn't go to a deep power chord another single note [Music] [Applause] [Music] one thing about Mick Mars in his playing style he definitely has this heavy kind of hard edge but then he also has this kind of raw bluesy edge too and you'll hear him playing slide you'll hear these kind of almost blues you know kind of single note riffs and and rhythm parts and I always thought that was interesting too where one minute he's playing in this real heavy you know power chord riff and then the next minute he's playing almost kind of a boogie like blues thing and this is from the song city boy blues the opening song from theater of pain and he's doing something really interesting here with the chords and it is kind of bluesy even though it's technically a crew song but it looks like this [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] per city boy blues it's almost the reverse of what we saw and looks the kill because looks a kill during the chorus and had that and then city boy blues we're gonna be up here we're basically starting the key of E minor 7 and then that note of the D there on the D string is gonna move back to a c-sharp so now we're kind of doing like an E minor 6 and then that notes gonna move back to a C so now it's like a c5 over E and then go down to an e power chord there's a single note rev [Music] [Applause] [Music] [Applause] and once again you know I've mentioned this in other episodes of court play and 3/4 all and some other lessons I've made but you know good music and great guitar parts they don't have to be hard to play for them to be good you know some of the best music ever recorded and written and remembered is really simple the last example here you can see I switched to acoustic guitar and this is god bless the children of the beast which is all shout at the devil and it's one of those rare instrumental Motley Crue movements which Motley Crue really did not put out very much you know instrumental material this was an exception I think they were still trying to figure out their style you know at that point but this is really cool it's actually it was played on a 12-string and we're in standard tuning now so we're no longer tuned down a whole step and this is another rare instance of mick plain and standard tuning which was not coming but it's really cool it has this haunting you know sequence of chords and it's pretty simple it's not hard to play it just sounds good and that's kind of the epitome of McMorris you know a lot of his ideas or simple you know easy to play or easy to kind of see but they just sound great you know it's like man those are great you know rhythms those are good leads there's lots of great you know fills and all this stuff going on but here we go [Music] B minor 9 right there and be kind of like a gg6 and then this would basically be like an F major 7 sharp 11 and just move that down a half stuff and you're playing E major [Music] and it's pretty clever the way you know he moves down sequence of chords in that last shape right before it begins again that's technically part of East seven [Music] you know just kind of played that way it's kind of hinting at an e7 which that would imply in a harmonic minor that's gonna wrap this look at the chords of Mali crew and I almost can bet money you probably didn't think this was gonna end on acoustic guitar you probably thought I was gonna have fire and pentagrams or something or leather pants and somebody was gonna light them on fire sorry if I lay down but in the future I'm gonna try to light my pants on fire and have you know pentagrams and stuff but not today you know I'm still getting started here so I don't have fiery pants and you know props and stuff I do have some of these you know props but not quite as cool as Motley Crue's props if they had some killer stuff and what Tommy had the upside-down drum kit and yeah they had all kinds of cool things going on every once in a while especially back in the early days you know Mick would spit blood almost like gene Simmons and stuff so they had some really dark you know imagery and then you know if you closed your eyes and waited a couple years they just turned into a bunch of biker looking dudes you know or it's like wait a minute weren't you guys like full of pentagrams and leather and fire and then all of a sudden you just drive around on Harley's now it's like what happened all right so please leave some feedback and some comments and subscribe you late night lessons and I'll be back before you know it more concise material thank you